Saturday 12 April [1919] These ten minutes are stolen from [Daniel Defoe’s] Moll Flanders … A great writer — & Forster has never read his books! I was beckoned by Forster from the [London] Library as I approached. We shook hands very cordially; & yet I always feel him shrinking sensitively from me, as a woman, a clever woman, an up to date woman. Feeling this I commanded him to read Defoe, & left him, & went & got some more Defoe….

The Diary of Virginia Woolf

琼·里斯的代表作Wide Sargasso Sea四个中译本折射了中国自改革开放以来不同时期对同一作品的接受情况。王家湘的译本反映了80年代中期国内介绍西方现代主义文学时仍然持有的政治化倾向，女主人公安托万内特的个人生存境遇被搁置；90年代朱虹编撰的“夏娃丛书”里收录的《疯妻子》译本突出了对殖民统治下女性婚姻悲剧的关注，体现了较强的性别意识；2002年郑至慧的台湾版译本更是采取多种翻译策略来张扬文本中的性别问题；2011年方军、吕静莲译本彰显了作者里斯女性主义作家地位，奠定了该作品的女性文学的经典地位。

Wide Sargasso Sea四个中译本比较研究

Images of loss and yearning played a crucial role in literary texts written in the later part of the twentieth century. Despite deep cultural differences, novelists from Africa, the Caribbean, Great Britain, and the United States share a sense that the economic, social, and political forces associated with late modernity have evoked widespread nostalgia within the communities in which they write. In this original and wide-ranging study, John J. Su explores the relationship between nostalgia and ethics in novels across the English-speaking world. He challenges the tendency in literary studies to characterise memory as positive and nostalgia as necessarily negative. Instead, this book argues that nostalgic fantasies are crucial to the ethical visions presented by topical novels. From Jean Rhys to Wole Soyinka and from V. S. Naipaul to Toni Morrison, Su identifies nostalgia as a central concern in the twentieth-century novel.

/pdf/ethics-and-nostalgia-in-the-contemporary-novel-4pkaubhcgu.pdf

Ethics and Nostalgia in the Contemporary Novel

........................................................................................................................................... ii Acknowledgments ......................................................................................................................... iii Table of Contents .......................................................................................................................... iv List of Figures ................................................................................................................................. vi Preface ............................................................................................................................................ vii 1	   Introduction: Speaking of Ghosts ........................................................................................... 1 1.1	   Purpose, Method, Definitions ......................................................................................... 1 1.2	   Talking Ghosts: On Ghost Stories and Criticism ....................................................... 26 2	   How to Tell A Ghost Story .................................................................................................... 45 2.1	   Field Survey: A Brief History of Ghost Stories and the Theatre ............................... 45 2.2	   Major Argument: About Telling Ghost Stories .......................................................... 52 2.3	   Speaking of Ghosts: Conor McPherson’s The Weir ................................................... 61 2.4	   An Irish Gothic: Marina Carr’s By the Bog of Cats... ................................................. 76 2.5	   Staging South African Photography and the Ghost of Sizwe Banzi ......................... 90 2.6	   A Haunting Machine: Theatrical Technologies and Samuel Beckett’s Shades ..... 108 2.7	   Haunting Oceans, Mourning Languages: J.M. Synge and Derek Walcott ............ 135 3	   Witness to Ghosts ................................................................................................................. 155 3.1	   Field Survey: Transnational Poetics and the Globalgothic ..................................... 155 3.2	   Major Argument: Voice, Medium, Rhythm, and the Poetry of Dead Metaphors162 3.3	   Eavan Boland and the Haunted Chorus .................................................................... 187 3.4	   Breyten Breytenbach and the Afrikaans Gothic ....................................................... 209 3.5	   Nohow On from Here: Samuel Beckett’s Worsening Writings .............................. 235 3.6	   Scholia on a Case Study: Imagining the Zong ........................................................... 259

/pdf/about-telling-ghosts-and-hauntings-in-contemporary-drama-and-1dwkan7afw.pdf

About Telling: Ghosts and Hauntings in Contemporary Drama and Poetry

Slavery and the Culture of Taste

By far the most comprehensive feminist critical study on Rhys to date is Mary Lou Emery's . . . useful for its many insights into particular moments of historical resonance in Rhys's fiction . . . --Jean Rhys Review Emery's careful unraveling of the interconnections of colonial and sexual exile is a valuable contribution to feminist scholarship on Rhys. --Signs Tense oppositions in Caribbean culture supply powerful themes and spark complex narrative experiments in the fiction of Dominican-born novelist Jean Rhys. In this pathfinding study, Mary Lou Emery focuses on Rhys's handling of these oppositions, using a Caribbean cultural perspective to replace the mainly European standards that have served to misread and sometimes devalue Rhys's writing.

Jean Rhys at "World's End": Novels of Colonial and Sexual Exile

Approche dialogique du feminisme woolfien dans To the Lighthouse qui denonce, tout en les reaffirmant, les structures du patriarcat colonialiste de l'Angleterre

"Robbed of Meaning": The Work at the Center of To the Lighthouse

List of illustrations Acknowledgements 1. Transfigurations 2. Exhibitions/modernisms 1900-1939 3. Exile/Caribbean eyes 1928-1963 4. Ekphrasis/diasporic Caribbean imaginations 1960-2000 Conclusion Notes Bibliography Index.

/pdf/modernism-the-visual-and-caribbean-literature-mt4q0pfhwn.pdf

Modernism, the Visual, and Caribbean Literature

Jean Rhys's novels portray marginal women, exiled both culturally and sexually. Displaced from their native Caribbean, outsiders to women's traditional domestic world, and trespassers on masculine public territory, they walk the streets, not quite prostitutes, yet living on the edges of respectability, sanity, and dignity. Their fragmented perceptions and disjointed voices present the modern experience of exile and the decentered self. Like many modernist works, Rhys's novels seem to present an intensely personal rather than social vision; however, these precisely wrought narratives dissect the ways and means of power, money, and sex. Rhys's strategies and style resemble those of experimental writers like James Joyce, Virginia Woolf, or Dorothy Richardson in their portrayal of individual consciousness and perception. Her treatment of words resembles the linguistic doubling of Gertrude Stein's poetry, often depending on sound and syntax for their meaning. The social isolation, faced by Rhys's characters, seems to further emphasize a private, even schizophrenic, vision.1 She developed her own unique forms of interior monologue and of a fragmented style that, to borrow Wallace Stevens' words, created "a violent order (in) disorder." But Rhys's writing goes beyond these more formal similarities to modernism to expose the violence that informs them. Violence smol-

Mary Lou Emery

Papers

Jean Rhys at "World's End": Novels of Colonial and Sexual Exile

"Robbed of Meaning": The Work at the Center of To the Lighthouse

Modernism, the Visual, and Caribbean Literature

The Politics of Form: Jean Rhys's Social Vision in Voyage in the Dark and Wide Sargasso Sea

Caribbean Modernism: Plantation to Planetary